Artimųjų Rytų, Indijos ir Islamo pasaulių estetika ir meno teorija

LTMonografija yra trilogijos „Estetikos ir meno filosofijos idėjų istorija: Rytai-Vakarai“, skirtos visuotinės estetikos ir meno filosofijos idėjų analizei, pirmoji knyga. Šią trilogiją galima traktuoti kaip daugiau nei tris dešimtmečius jo autoriaus darytų komparatyvistinių Azijos ir Vakarų tradicinės estetinės minties bei meno teorijos tyrinėjimų konceptualią sintezę. Tai tarpdalykinis humanitarinės krypties veikalas, aprėpiantis pagrindinius estetikos, meno filosofijos ir meno teorijos raidos etapus plačioje lyginamosios analizės perspektyvoje. Pirmą serijos knygą sudaro dalis, skirta estetikos ir meno teorijos užuomazgų tyrinėjimui seniausiose Artimųjų Rytų (šumerų, babiloniečių, egiptiečių, senovės žydų, iranėnų) civilizacijų lopšyje, Hindustano pusiasalyje ir arabų–musulmoniškame pasaulyje. [Anotacija knygoje]

ENIn the diverse written legacy of the oldest civilizations, an extremely important role is played by sacred and poetic texts, which highlight the beginnings of aesthetic thought. When studying the earliest stage in the formation of aesthetic thought, we must abandon many of the stereotypes familiar to us and proceed to the level of syncretic categories. It is natural that different regions of the world, living under diverse conditions, formed distinctive views of aestheticism. A great push toward the rudimentary development of aesthetic thought was given by the breakdown of primitive social relations and the appearance of the state with its complex system of institutions. The oldest states, which became the main cradles of world civilization, arose in fertile river valleys: along the Nile – Egypt, between the Tigris and the Euphrates – Sumer and Babylonia, between the Indus and the Ganges – the proto-Indian civilizations of Harappa and Mohenjo-Daro, and along the Yellow River – the Yang-Shao culture. Unlike tribal societies, the appearance of these state organisms was connected with the rise of an official ruler and of influential social classes and with the unification of people not on the basis of kinship, but of territory. These radical social changes provided the impulse for the development of culture and, at the same time, promoted the formation of the beginnings of aesthetic thought. The data relied on today by historians of aesthetics in various countries permits the indisputable assertion that research into the origins of aesthetic thought must begin, contrary to the flawed Eurocentric tradition, not with the comparatively recent antiquity of the Greeks and the Romans, but with the civilizations of the Ancient East. Many of the aesthetic ideas that formed in the East are often attributed to the thought of Western antiquity.India is one of the oldest cradles of world civilization with a long cultural history that encompasses about five thousand years. The cultural values created in this country have left a distinct imprint on human history. When researching the philosophical, aesthetic, and artistic traditions that have formed on the Indian subcontinent, we use the general concept of India to denote not some political formation, but the totality of a multitude of states, of related nations and tribes that have existed for millennia, constantly shifting their territorial boundaries and replacing one another – a totality that created cultural, aesthetic, and artistic values that acquired forms characteristic of the Indian subcontinent. In comparison to the aesthetic traditions of the West, India, like China and Japan, has a more holistic worldview – one that encompasses the totality of a multitude of different principles and in which, in the great torrent of existence, one opposite is inseparable from another. Unlike the Far East, where treatises on aesthetics are usually succinct and metaphorical, limiting themselves to dealing with a few of the most important (as seen by the authors) aesthetic problems, in India they often acquire from the Upaniṣads a tendency toward the abstract speculative treatment of problems. Works on philosophical aesthetics stand out for their elaborate metaphysics and emphatic symbolism, while they avoid the aesthetic intuitivism and metaphoricity characteristic of Chinese and Japanese works. [...]. [From the publication]